Various news items

It’s about time that I shone a light on a number of PH/VdGG related items of interest.

Earlier in the year Jim Christopulos did an incredible job of matching up previously unknown footage of VdGG’s 1976 appearance inMassey Hall, Toronto, to existing audio. The response to this going online was positive in the extreme.

I began thinking about a couple of spools of Super 8 film which I’d been given many years ago. These were of VdGG at the Beacon Theater, NYC, in the same year, the only US show which that era of the band played and therefore something of a legendary performance. I’d never known quite what to do with it . If it had gone up online as film only it would have been a curio, but something of a sketchy thing. Equally, it didn’t seem right to put it up for collection by anyone else. So it had lain forgotten in my desk all this time. In fact I didn’t even know what the footage consisted of.

So I had the content digitised and sent it off to Jim to see whether he might weave some more audio-visual magic and bring the thing to life. In fact he went much further than this, locating two other people who had footage of the concert and then tracking down numerous eyewitnesses as well. Rather than the brief snippets which had represented the Toronto show, he’s now put together a full documentary chronicling the New York event. It’s now up here: https://youtu.be/1gPTM2AwK3w

I thoroughly recommend that anyone who’s interested in VdGG history should check this out!

Finally out this week is the comprehensive Box Set put together by Universal music: Peter Hammill: The Charisma and Virgin Recordings 1971-1986. (Charisma, of course, was bought by Virgin, which was bought by EMI, which was bought by Universal and so my back catalogue has ended up in their care.) This set gathers together all the studio albums of the period, all of them remastered and with new (stereo and surround) mixes of The Future Now and pH7. There are also three CDs of live material and rare video footage too. A massive book completes the set with many previously unseen photos and pieces of memorabilia and in addition I’ve written notes for each album which, I hope, shed light on their making, content and context.

Of course in the way of things this is a pretty expensive item. But it’s been really well put together with great respect for the material and is the definitive collection of all that work, so long ago. It gets a full thumbs up from me.

You can order it from Burning Shed.

And finally…. A week from today, on 30^th September, I’ll be one show into my solo mini tour of the UK, having played in Edinburgh the previous night.

It’s been an age since my last shows over here and my performances are, of course, becoming rarer and rarer. I’ve never been one who wanted to carry on being a trouper until I drop down on stage. So who knows when – or if – I’ll be playing here again. If you have any interest in seeing me do my strange stuff on stage I strongly recommend getting along to one or other of these shows. Details can be found at https://www.sofasound.com/touring.htm

Big News

Here I am again and this time with some pretty big news, which has been cooking away for a while.

On 26th September Universal are going to release a massive Box Set: “Peter Hammill – the Charisma and Virgin recordings 1971-1986.”

This brings together all my albums from this period and consists of 18 cds and 2 Blu-Rays. All 13 albums are here as well as brand new stereo and 5.1 surround mixes of “The Future Now” and “pH7”. There are 48 bonus tracks and a video disc of unreleased TV performances. There’s also a 78-page hardback book with rare photos and memorabilia in which I’ve written lengthy commentaries on all the albums.

This follows on, of course, from the earlier VdGG box and is a similarly classy release which gathers together all my early work. Really quite an exciting thing.

It’s available for pre-order now here.

And….
Since the last VdGG tour was abruptly curtailed back in 2022 I’ve done solo shows in Italy, Japan and Greece. So it’s really about time I played some UK dates – incredibly I realise that the last ones were in 2018.

I’ll be playing in the following:

29th September Edinburgh Queens Hall

1st October Manchester Royal Northern College of Music

2nd October London Royal Festival Hall

So all in all, unaccustomed as I am and so on it looks as though the latter half of the year will be pretty big on PH visibility. One might almost say, gulp, that it’s all a major marketing push!

Links for tickets to the live shows can be found here touring.

Incoherence

Today (8th November 2024) there’s another new/old release. This time it’s “Incoherence”.

This album was recorded in 2003, the year when I had my studio in the Somerset village of Mells, after moving out of the Walcot Gate address where I’d been for many years. I finished mixing it just a few days before I had my heart attack. My recovery from that was comparatively fast but I wsn’t really up for a daily commute at first, nor for doing any remixing. So the album came out with that initial mix unchganged.

At different times over the years I had some regrets about that: there were elements of clunkiness whcih I felt I could have been corrected. I never did anything about it until some years ago I began to wonder about a vinyl release for the work (it had only ever been on CD before). Since that involved finding a Side A/B split point I went back to the original multitracks to see how that could be managed. Well, one thing led to another and eventually I ended up with a completely remixed version.

I say “version” but there are in fact two variants. I’d decided originally that the album should run continuously – in fact it was the last long-form piece I made. Fair enough, but perhaps that made for something of an arduoous listening experience. I’d always regarded individual pieces of the work as songs in their own right – they’d been given their own titles in the initial track listing – but now I thought it might be interesting to separate them out as discrete items. This would also show exactly how I’d pre-planned and worked on the various transition moments.

As I say, the album is out today, on Esoteric. Yes, there’s a vinyl version at last; and the CD version is a double disc, the “songs” version and the continuous one. All have the new mix which to my ears is much improved. I hope you enjoy it.

It’s worth saying at this point, by the way, that I’m not going to keep on going back and reworking things from the past. In fact I think this is about it for that kind of activity. I’m currently working on a number of new tunes and hope to have an album finished early in 2025. Not sure exactly what it’ll be yet but surprise is the essence of life, eh?

Next week I’m off to Italy to do some shows (about time, you may say), so I’ve still got a fair bit of rehearsal to do. Onward!

New for Old

“In a Foreign Town” and “Out of Water” – the 2023 versions.

Last year, as part of a process of rationalisation, I decided that the time had really come for me to stop being a record company. I haven’t lost enthusiasm for music itself but after so many years of running the business solo I decided it was time to take a step back. To that end I’ve passed over the curatorship of the Fie! catalogue to Cherry Red.

In the course of doing so it became apparent that there was some element of doubt about the ownership of the three records I made for Enigma – “In a Foreign Town”, “Out of Water” and “Room Temperature”. Rights in these had been passed down over the years and now might or might belong to Warners in the States.

I knew that it would take a degree of time to sort out the tangle, if it could be sorted out at all (old paperwork and all that). So in these circumstances I decided that I’d take a leaf out of Taylor Swift’s book and lay claim to, if not the original albums themselves then at least, the material…by re-recording it all.

This felt particularly appropriate in the case of “In a Foreign Town”. This was the first album on which I’d taken on sequencing responsibilities myself and this resulted in a certain squareness of performance and uniformity of sound selections, heavily rooted in the Eighties sonic world.

Astonishingly, when I went to start the work I found that I still had MIDI files for four of the songs so I started off with a firm foundation.

Thereafter I went about my reconstruction work eagerly. With nifty modern software it was possible to break down the original tracks into component parts – Vox separated from backing track, Drums, Bass, Pianos isolated – not in 100% pristine form, but good enough for me to trace the bones of what was happening and go about creating replacements.

I haven’t gone for slavish copying though: these are emphatically versions for now, with the knowledge and changes which years of further experience have brought. So these deliveries are, I feel, more authoritative versions – though naturally while a song is alive no rendition will be absolutely definitive.

“In a Foreign Town” is played fairly straight in terms of arrangements, especially as I’d played nearly all the parts myself on the original. “Out of Water” presented other challenges, as I was replacing several important parts played by others and some of the structural sounds were originally based in instruments which are no longer in my possession. In places I’ve made significant shifts to the essential structure of pieces.

The only remaining bit of audio from the originals is the (significantly processed) violin part of Stuart Gordon on “Something about Ysabel’s dance”. The arrangement of this song is one of the big changes – I’ve included a section in the middle as a nod to our later live performances as a duo, where we’d make reference to Charlie Mingus’s original “Ysabel’s Table dance”, the first inspiration for the song.

Apart from this everything else is brand new. These now feel to me like true modern successors to the original albums. Oddly, many of the lyrical concerns in both albums are as relevant today as they were then.

To be released this Friday, 24^th November 2023, as a double CD set, on Cherry Red,

An Auction

Now that I’ve hit 75 it’s definitely time for me to start downsizing things.

To that end, I’ve decided to get rid of a number of musical and tech items for which I haven’t had much use in the last few years. Most of these have some kind of intrinsic value and would certainly be of use to somebody. Some have played a significant part in my jolly old musical career.

They’re going up for auction online at www.guitar-auctions.co.uk on 5^th December 2023. My lots are numbers 527 – 537 and you’ll find them on page 24 of the online catalogue. (This site, by the way, is the pre-eminent one in Europe for online guitar auctions

Happy browsing and I hope these things end up in a good home.

I’m aware, of course, that I’ve been completely silent on here for months and months. I hope to put that right in the very near future. For now, though, I’d just like to say that I’m in good shape mentally and physically, even though my years are advancing!

Beginning again

Astonishingly, it’s been years since my last post. For a lot of that time, obviously, all life has been in some kind of abeyance. Now at last things seem to be on the way to starting up again.

Exactly fifty-one years ago today VdGG were starting the famous Six Bob tour with a show at the Lyceum in London. Fifty-one years ago tomorrow we were playing at Birmingham Town Hall on that tour. So there’s a measure of synchronicity at work here: in exactly four weeks from today we’ll be back in the Town Hall, kicking off the latest leg in VdGG touring.

At times over the last two extraordinary years it’s seemed that these often rescheduled shows would never happen and that effectively that might mean the end for our group. So it’s with joy and excitement (and the usual pinch of trepidation) that we’re now in the private study stage of rehearsals, knowing that the real thing will be upon us before we know it. The UK run is a short one; in a couple of months we’ll have the long stretch through the rest of Europe to do.

It’s going to be a blast.

VdGG 2020

Now I’m able to announce the other shows which we’ll be doing in 2020!
VdGG in 2020

March

28 Athens Piraeus 117

April

5 Genova Politearna Genovese
7 Roma Auditorium
8 Bologna Teatro della Celebrazioni
9 Milano Auditorium di Milano

12 Frankfurt Kunstlerhaus Mousonturm
13 Reutlingen Franz.K
14 Dresden Tante Ju
16 Krakow Klub Studio
17 Warsaw Palladium
18 Berlin Columbia Theatre

20 Prague Archa Theatre
21 Nurnberg Hirsch
23 Amsterdam Paradiso
24 Paris Le Trianon de Paris
May

3 Queens Hall Edinburgh
4 Bridgewater Hall Manchester
5 Symphony Hall Birmingham
7 The Forum Bath
8 London Palladium

19 Koln Kantine
22 Copenhagen Lilla Vega
23 Gothenburg Pustervik
24 Stockholm Lilla Circus
26 Helsinki Savoy-teatteri

27 Helsinki Savoy-teatteri

Booking details are now up at http://www.sofasound.com

Hooray!

“In Amazonia”, Gouveia, IB

Next Saturday (5th May) I’ll find myself once more at the Gouveia Art Rock festival. I’ve previously performed there in many guises – solo, in duos (with Stuart Gordon and Gary Lucas) and, of course, with VdGG. This time will be something else: first I’ll be playing solo (only on piano this time) and then combining with the (mainly) Swedish band Isildurs Bane to perform the whole of the new album “In Amazonia” on which we’ve recently collaborated.

It was at Gouveia, many years ago, that I first became aware of IB. Thomas Olssen, the musicologist who regularly hosts a morning discussion session at the festival (in which I’ve been a participant a couple of times) is also deeply involved in the work of IB. He proposed that I consider taking part in one of their IB Expo weeks.

For those who don’t know, these are high-octane events in which IB invite musicians to join them for a week of rehearsals and collaborations, all leading up to a one-off performance. This is not recorded for posterity or for any commercial release, so there’s very much the sense of approach-to-a-goal, once and once only about the thing. Everyone involved is definitely put on their mettle and evidently there’s no safety net.

From the outset I liked the idea and the intention of this venture but was somewhat reluctant to commit to anything for my own part. The quality of musicians involved has traditionally been stellar and of incredible accomplishment both technically and in improvisational skill. That’s not quite where I see my own strengths, of course. So I suspected that I wasn’t quite going to be the man for the job.

Nonetheless, Thomas returned to his task of persuasion on at least a couple of other times when we met up at Gouveia and finally I decided to take the plunge for the 2017 event. My fellow guests for this were Tim Bowness and the koto player Karin Nakagawa. Her presence meant that we were able to perform the Ayuo Takahashi piece “Song for Fallen Blossoms”, along with other more usual (though in unusual configurations) songs. It didn’t come as a complete surprise to me that the whole show was exciting, challenging and invigorating in equal measure and I was very glad indeed to have taken part.

At some time in 2018 Thomas got in touch to ask if I’d be interested in continuing to collaborate, this time on a recording project. I’m actually quite open to the idea of doing outside work, especially if it’s some way away from my usual areas so – with, of course, the condition that nothing was an absolute given or certainty on either side until it was all done – I agreed to have a go. The files for the first song duly arrived and I began looking for that spots where I could fit in.

I think there were some original suggestions for the moments in time where singing could be imagined but there was nothing more than that in terms of direction. Well, obviously I managed to find some lines which worked for me and which I thought fitted in with the piece. With some trepidation I sent these off and waited for the reaction….

Happily this was extremely positive. What I’d done was, perhaps, somewhat unexpected and in turn led to some re-editing of the original score, to allow for the repetition of some vocal lines. And so we had the first piece.

Then a second one arrived, and so on until in the end our collaboration extended over five songs and an entire album (bar a final instrumental recapitulation of some themes at the end). Of course, it’s been an unusual writing process, working from the inside out and never quite sure what the ultimate destination was going to be. From my own point of view, in itself this produced a loose linkage, some narrative and musical connection between the pieces. Naturally, since the stuff isn’t structurally based on my own architecture, it’s also a long way from any (musical) norms of my own, so I think I’ve come up with something quite unusual.

Anyway, here it is and I think it’s very good stuff. Cinematic, wide-screen and afloat on a surging current. The instrumentation is broad palette: in addition to bass, gtr, kbds there are multitudes of percussion, trumpets, violin and a major role for Karin’s koto. Thus there’s a direct connection between this and our Expo week in 2017…and, indeed, a coherent line going all the way back to those conversations over breakfast with Thomas in Gouveia.

Doing it live will, of course, be , er, something of a challenge, but it’s one which I think everyone is up for and fully committed to…. Up, up and away!

The album itself will be out on May 10^th and we’re now taking orders over at http://www.sofasound.com

Not Yet Not Now

I’ve just put up this post over at http://www.sofasound.com but suppose that it ought to appear here as well….

And now, ladies and gentlemen, news of the release of a project on which I’ve been working for most of the last few months.

As you’ll doubtless know, between November 2017 and May 2018 I undertook the most significant bout of solo touring in Europe for some time, taking in shows in Italy, Belgium, Netherlands, UK and Germany. With such a flood of performances I took the opportunity/accepted the personal challenge to widen the repertoire even more than has recently been the case (which was already considerable). In the end I played a hundred songs, more or less, in this run of shows, covering the whole spread of my career.

I’ve now gathered these together to form an eight CD Box Set, “Not yet, not now” and this will be released on March 29th. (I know, what better date could there be?)

Five of the CDs have a geographical focus, featuring songs taken from Berlin, Nurnberg/Dortmund (2 sets), Italy and UK. The final three CDs are a mix of songs from different countries. Each CD is about an hour long and is structured to mirror the rhythm and tempo of live performance. I’m not going to be falsely modest: some of these performances are outstanding. Not *definitive*, of course, as happily most of these songs continue to come at me afresh each time I encounter them on stage and so there’s no such thing as an absolutely correct or perfect version. Rather, I mean to say, that many of these takes on the songs have kinks and curves to them which surprise this singer himself.

I don’t intend to retire just yet – not yet, not now – but who knows how long I’ll be carrying on for. Indeed, there’s evidently a great deal of uncertainty surrrounding the possibility of touring Europe at all after the dread ioncoming Brexit. I’m pretty sure, though, that this will be the last time that I’ll assemble such a comprehensive package of live versions of the PH material, so it marks some kind of definitive full stop.

This limited edition release, which also includes a 24 page booklet, is now available for pre-order at sofasound.com.

The Lists

I’ve now completed the UK leg of my current touring. Over the seven shows I played eight-two different songs. (I think so, anyway – I note down what I’ve played from my set-lists after the event and of course I might go astray in the listings from time to time….)

This isn’t some kind of competition with myself though. As I’ve said before, the songs remain alive only as long as I’m still touring and presenting them. The recorded versions will always be there of course but, butterfly-like, they’re pinned down and certain, not flexible and mutating as are live renditions. I’ve been expanding the list of songs which in principle it’s possible for me to play over the years and the list now stands at over a hundred so I’m interested in doing as many of those as I can.

The assembly of sets is not an exact science – well, it’s not scientific in any way in fact. (With the exception of the one for QEH which, as I’ve written, had a very specific time-stamped element to the choice of material.) I’ll be influenced, of course, by what I’ve played or haven’t played on previous nights but I’m also looking to strike a balance between old and new, aggressive and calm, up-tempo and down, reflective and anticipatory. The piano/gtr splits also have to be taken into account and within  the guitar sets unusual tunings have to be taken into consideration as well. (Thankfully I’ve got significantly faster at going from one tuning to the next than used to be the case, but still it’s best not to have too many radical shifts one after another.)

Within all this there also has to be the consideration that most people in an audience are only going to see one show – so I’ve got a responsibility to have some like-for-like equivalence in quality, tone and balance one to the other.

And finally, of course, both out of interest, out of self-promotion and, indeed, in order to bed them in for future tours, it’s important to play some of the newest material rather than just The Hits (sic).

I don’t intend to make a habit of this but just this once I’ve decided to put up the list of what’s been played on this stretch of the tour. Songs in bold make their first appearance on the relevant night; in italics denotes a second showing and normal typeface a third. (There are only three of the latter, all songs from the new disc.) I hope the lists are correct but, well, you already know me for an unreliable narrator!

Only a few days now until the shows in Germany, where I’ll be playing two entirely different sets over the two nights in each city. I shan’t be consulting what I’ve played in the UK, so it’s unlikely that any sets will be repeats of these. And of course there are tunes which I haven’t yet played so I might sneak some of those in as well. In any event, I hope the concerts will be full of That Liveness, That Right Here and Now.

Yes, onward!

QEH, London, 20/4/18

Don’t Tell Me
Just Good Friends
Friday Afternoon
Faculty X
Time to Burn
I will Find You
Stumbled
Torpor
Like Veronica
Driven
La Rossa
The Lie
Bubble
Your Tall Ship
That Wasn’t What I Said
The Descent
Refugees

Modern

Oran Mor, Glasgow, 24/4/18

Siren Song
Losing Faith in Words
Anagnorisis
After the Show
Time Heals
Amnesiac
Shingle Song
Charm Alone
Sitting Targets
If I Could
Time for a Change
Last Frame
Unrehearsed
Reputation
His Best Girl
The Mercy
Stranger Still

Vision

Stoller Hall, Manchester, 25/4/18

My Room
Too Many of my Yesterdays
This Side of the Looking-Glass
Milked
The Mousetrap
The Habit of the Broken Heart
Slender Threads
My Unintended
Yoga
Happy Hour
Primo on the Parapet
Nothing Comes
Undone
Shell
A Way Out
Traintime

A Better Time

St. Luke’s Church, Brighton 1, 27/4/18

Easy to Slip Away
The Unconscious Life
Autumn
Bravest Face
Anagnorisis
The Comet, the Course, the Tail
The Birds
The Second Hand
Ophelia
Something about Ysabel’s dance
Driven
Modern
Four Pails
Milked
Gone Ahead
Mirror Images
In the End

House with no Door

St. Luke’s Church, Brighton 2, 28/4/18

Don’t Tell me
Just Good Friends
Curtains
Confidence
Tenderness
Comfortable
Shingle Song
Torpor
The Sphinx in the Face
Central Hotel
Patient
Sleep Now
Bubble
Time to Burn
The Descent
Still Life

Stranger Still

The Lantern, Bristol 29/4/18

Siren Song
Time Heals
Shell
Anagnorisis
Losing Faith in Words
The Habit of the Broken Heart
What’s it Worth?
(On Tuesdays she used to do) Yoga
Amnesiac
Been Alone so Long
Primo on the parapet
Labour of Love
Unrehearsed
His Best Girl
Milked
The Mercy
Traintime

Afterwards

The Junction, Cambridge, 30/4/18

My Room
Easy to Slip Away
Too Many of my Yesterdays
Reputation
The Unconscious Life
The Comet, the Course, the Tail
Our Eyes Give It Shape
Once You Called Me
Skin
The Birds
Patient
Faculty X
Friday Afternoon
That Wasn’t What I said
The Descent
A Way Out
A Better Time

Refugees